North London’s favourite rising indie rockers Sorry have stirred up their first full-length project, with debut record 925, due for release on March 27 via Domino records, the label responsible for distributing respected indie acts such as Franz Ferdinand, and The Dirty Projectors.
A very distinguishing record, the band do not refrain from showing their own colours, their unique sound setting them up to stand out from start to finish. The album opens up with their 2019 single, the snazzy, jazzy, and yet still moody Right Around The Clock, blending lead singer Asha Lorenz’s unimpressed, almost sexual vocals, with the dark and bouncy saxophone-heavy track co-produced by the great James Dring (Gorillaz, Blur, Lana Del Rey). The song is full of captivating sass, lyrical sarcasm, and a sizeable Tears For Fears reference, helping further the message of the song, which regards, an obsession with fame and those who have it.
Other equally as moody (and complex) tracks such as In Unison, and Rock ‘n’ Roll Star boast an intricate, smooth production, continuing the ‘jazzy’ feel to the entire record, which is fitting, as Domino Records, the groups label, has confirmed they were inspired by Tony Bennet during the creation of the album. The overall effect being a melancholic, somewhat passive-aggressive, sophisticated and consistent record that demonstrates their impressive prowess, both lyrically and sonically.
With lyrics like ‘I was nervous as hell, a bottomless pit/Snakes didn’t even scare me quite like you did’, Sorry sometimes even come across as a more melody-driven Smashing Pumpkins, with the constant basslines and half-whispering/whimpering/confessional vocals of Snakes, the third track on the album. The seamless combinations of various genre elements bring the project together, with moment’s like the Blondie-esque guitar intro on Starstruck, paired with the lyrics and production that makes the band come across as the edgier, more show-offy cousin of fellow London indie band, The xx. There are indie-electronica leaning characteristics in every track, as well as some subdued-grunge components, and a big shoegaze/dreampop influence as well, aiding the sonic landscape that is 925 to reach it’s intended imagery as portrayed in it’s lyrics.
An almost feverish energy is present among some of the songs on the record, such as Wolf, as we realise the record swings fluidly back and forth between bitter-sweet and what the bands label have described as ‘hellish’, a sort of Jekyll/Hyde of indie rock, using the mysterious cloak-and-dagger sound to achieve a confused, emotional, and elaborate record. True unique and independent artistry at it’s best, Sorry’s 925 is an album well worth the wait, an extraordinary first full-length record, full to the brim of innovative and delicate energy that could rival that of Bon Iver, all the while being one of the most unique records you’ll hear all year.